Rajasthan Traditional Dresses
A Symphony Of Colours
Against the backdrop of dusty land and sun-soaked skies, Rajasthan is filled with opulent colours, the sparkle of mirror and silver and precious stones, and the sheen of silk and vivid kaleidoscope of cotton. The exotic and vividly colorful state of Rajasthan is synonymous with majestic forts, stately palaces, lakes, sand dunes, camels and people dressed in brightly coloured costumes.The use of chappals or sandals or 'jutees' is also common but ladies of high families use coloured sandals studded with gold threads and stars.
|Women's Attire |
It is 10 feet long and 5 feet wide, One corner is tucked in the skirt while the other end is taken over the head and right shoulder. Colours and motifs are particular to caste, type of costume and occasion. Both Hindu and Muslims women wear 'odhnis'.Pila An 'odhni' with a yellow background and a central lotus motif in red called a 'pila', is a traditional gift of parent to their daughter on the birth of a son. The vibrant and colorful land of Rajasthan, with hospitable and well-attired men and women add a splash of colour to the otherwise parched landscape.
The turban, variously called 'pagari', 'pencha', 'sela' or 'safa' depending on style, an 'angrakha' or 'achakan' as the upper garment and 'dhoti' or 'pyjama' as the lower garment make up the male outfit.
Varying styles of turban denote region and caste. These variations are known by different names such as 'pagari' and 'safa'. Infact, there are about 1,000 different styles and types of turbans in Rajasthan, each denoting the class, caste and region of the wearer. Turbans come in all shapes, sizes and colours; and there are specific turbans for specific occasions as well. A 'pagari' is usually 82 feet long and 8 inches wide. A 'safa' is shorter and broader. The common man wears turban of one color, while the elite wear designs and colors according to the occasion.
and floor painting, apart from serving ritualistic purposes, are believed to create a harmonious atmosphere in the house. A broad border painted around the house along its base lends a grandeur to the dwelling. The front wall of the house separates the withing from without, the familiar from the foreign, the known from the unknown and must therefore be safeguarded. Any such decoration on the outer walls of the house is meant either to seek the protection of the Goddess or to ward off evil. The entrance of a house is also an important site for relief work in some tribal communities, such as the Agarias and Gonds. Simple decorations of ochre and mud on the platforms for keeping earthen pitchers, and on the four sides of the windows add color and charm to the surroundings. The decoration of the house, whether painting or relief work, is the responsibility of the women. Bas relief work is usually done on the inner walls of
ambika Mata Temple is a small shrine made in crevice of a rock. The temple dedicated to Goddess Ambika (a form of Goddess Durga). Being located at the village called Jagat in Rajasthan, the temple is also known as Jagat Temple. The shrine is comfortably positioned at a distance of 58kms in the south-east of Udaipur. Built in 961 A.D, the Jagat Temple is renowned for its intricate carvings in the exteriors.
The village Jagat is popular with the term of 'Khajuraho of Rajasthan' and the place is particularly famous for its well-preserved temple of the 10th century. Though Ambika Mata Temple is not very big, but its splendid architecture makes it different from others. The main shrine has an image of Ambika, a form of the Hindi Goddess Durga. The goddess is worshipped as Shakti (Power) that is a primitive source of energy. Goddess Ambika is linked with Maa Durga due to the presence of Lion as her mount.
Instruments of Rajasthan
Sarangi is the most important bowed stringed instrument of North Indian classical music. Its name literally means sau rang (hundred colours) indicating its adaptability to a wide range of musical styles and its ability to produce a large pallette of tonal colour and emotional nuance. It’s twanged metallic sounding tone with a pronounced echo might surprise one who hears its sound for the first time. The Sarangi is far superior for the accentuation of Raga scales to all known Indian instruments like the Sitar, Sarod or Santoor. Sarangi is revered for its uncanny capacity to imitate the timbre and inflections of the human voice as well as for the intensity of emotional expression..
The Kamaycha has a big, circular resonator which produces a deep booming sound. It is used exclusively by the Manganiyars in the Jaisalmer-Barmer region.So deeply is the sense of tune and rhythm in the mind and ear of the folk muscians, that they need nothing more than intuition and a highly trained ear to tune their instruments.
|Algoza : |
These are the numerous instruments that are played by blowing into them.Rajasthan folk music has many variations of the flute. The Peli of the Meos of Alwar is a short flute, to the music of which the Ratwai is sung in a high pitch.The Algoza, common in the Tonk-Ajmer areas, is two such flutes played together. The Kathodis use the Pawri, a flute of bamboo held vertically. The Bhils use a short flute in some of their dances. Ceremonial music is provided by Nafeeri and Surnai, both rudimentrary forms of the shehnai .Then there is the Poongi of the snake charmers and its adaptation by theLangas called the Murla. Both have two tubes, one for the notes and the other for the drone.
The Rawanhathha of the Thori or Nayak Bhopas is probably the earliest instrument played with a bow, and this humble instrument could well be the precursor of the violin. It has two main strings and a variable number of supporting strings, with a belly of half coconut shell and a body of bamboo. The bow has ghungroos (bells) attached to it. The music is staccato and accompained by the syncopated singing of the Bhopa and the Bhopan.The Jogis of Abu Road area use a smaller version of the Rawanhathha which has its two main strings tuned to the 'Sa' of the Indian octave and a third of steel to 'Pa'. The Langas use the Sindhi sarangi. It is made up of four main wires, seven jharas and seventeen tarafs. Others members of the family are the Gujratan, Jogia and Dhani sarangis. The Surinda, favourite of the Manganiyars, is a small sarangi. The Chikara, used by the Meos and Jogis of Mewat is a replica of the Sarangi.
The Ektaara is also a single string instrument, but it is mounted on the belly of a gourd attached to a body made of bamboo.The Galaleng Jogis of Dungarpur and Banswara have twin gourded Kendru appears akin to the ancient Kinnari Veena, and it has often been called the Keengri in Rajasthan literature.The Chautara, also called the Tandoora or Nissan , is also a popular five stringed drone and beat instrument used as an accompaniment to devotional music and for the Terathali dance.
The simplest among these are done on wall, and though folk in style, they neverthless have some of the flavour of frescoes one sees in the old palaces. The tradition on painting the wall of houses with scenes frommythological and chivalric tales has been prevalent in Rajasthan for the past many centuries. Miniatures are the most famous among paintings developed under the patronage of various rulers. The are still continues, though with considerably less patronage, in places like Nathwara, Udaipur and Bikaner, although most paintings made now are copies of old originals.
Noted among paintings are those made on cloth, known as pichavais, and intended as backdrops for the statue of the temple deity. Originally, these were made for different seasons and festivals for use at worship but later they came to be sold to pilgrims. In this thin layer of starch is applied on the cloth and painting is done in tempera.
Special mention must be made of cloth scroll paintings rendered in folk style known as phads, depicting the lives of local heroes. They tell mostly the story of Pabuji Ramdevji and Dev Narainji whose exploits ar sung by minstrels (bhopas) around the villages. The use of vibrant, raw colors and bold lines and a two dimensional treatment of figures with the entire composition arranged in sections are some of the unique features of these paintings. Nathdwara has 150 painters in the pichavai technique, Jaipur 20, and Udaipur 6. Shahpura in Bhilwara has 20 phad painters and Udaipur 4. Miniature paintings have been in records in Rajasthan for centuries and have very strong effect of the historical art and its related people. The various schools of painting in Rajasthan are:
|Amplifying the Energy of the Chakras|
Chakras are the subtle energy centers of the body. The ancient Indian Yogis understood the nature of the subtle energy which drives all biological function. They called these centers “Chakras” which literally means “ wheels.” Those who see energy often perceive the chakras as spinning with a wheel-like appearance. This energy is most commonly referred to as chi or prana and it is the animating force behind all living things. Physiologists who search for a purely physical explanation of all biological activity are on a fool’s quest, like a man dissecting a piano in order to find the concerto hidden inside. The mystery is vast.Somewhat like Dr. Abraham Maslow’s “Hierarchy of Needs” which moves from survival, to sex, to emotional well-being, etc., the chakras have a similar hierarchy
|Rajsamand Tourism |
RAJSAMAND 67 kilometers from the city of lakes Udaipur, on the national highway number eight, Rajsamand district is famous all over the world for its historical, religious and archaeological importance. In 1662, Maharana RajSingh initiated the building of bow-shaped dam over the river Gomati in the interest of public, which took fourteen years and an investment of 1.25 crores to be completed. White marble cenotaphs amidst scenic beauty, adorned with beautifully done sculpture of wonderful scenes, intricate engravings, impressive archways, this dam is known as Nau-Chauki Ki Pal because of the use of the immutable number nine of Indian philosophy and culture. Based on the concept of nine planets, the dam measures nine hundred ninety nine feet in length and ninety-nine feet in breadth. Every step measures nine inches. Nine of the cenotaphs, among the three main ones, built on the dam of the same height, make a nine-degree angle, standing at nine feet height justifying the name Nau-Chauki. It also boasts of the largest engraving on twenty-five black stones 'Raj-Prashasti' which has great historical importance and Sanskrit poetry that it contains holds a unique place in world literature. On the bank of this dam which connects Rajnagar and Kankroli cities, other places of historical interest such as the Devi temple 'Ghevar Mata' on the top of a hill, Krishantemple 'Dwarka Dhish ji', Anuvrat Vishva Bharati, a Jain institution, the fort of Dayal Shah, make it a center of attraction for the tourists throughout the year.
Oppressed by Aurangzeb's fanaticism and obsession for destroying Hindu temples, the religious places became insecure. Seeking to find a secure place for the idols of Shreenathji and his seven forms, Tilkayat Govind ji Maharaj and elder brother Balkrishna ji Maharaj set up these idols in the ancient village Sinhad of Nathdwara on national highway eight on Falguni Krishna Saptami 1728. After the completion of the temple, the idols “Shrivigrah' were shifted to the temple and the city was re-named Nath-dwara. The Sudershan Chakra and seven flags can be still seen on the tiled roof. The internal management of this major seat of Vaishnava sect is unique. Everyday the child image of lord Krishna is worshipped as a baby. Starting with Mangala till the last darshna special decorations are done and exhibits are displayed during the course of the day. Devotees flock to the city throughout the year but particularly during festivals such as Deepawali, Holi, Janmashthami it is impossible to find a place to stay. During Deepawali people turn out in large numbers to witness 'Gau-Krida' or cow-play which is followed by 'Annakuta' in which a rice heap is made before the chief deity and different kindsof delicacies are prepared which are plundered first by the viewers and thereafter by the tribal people.
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